V Jornada do Núcleo de Estudos Irlandeses da UFSC

28/10/2021 11:19

A V Jornada do Núcleo de Estudos Irlandeses da UFSC, convida a todos a participar de uma série de palestras pertinentes aos Estudos Literários e Culturais. O evento será no dia 12 de novembro de 2021 e ficará dividido entre duas partes: No período da manhã, das 09h30 às 12h00, e no período da tarde, das 13h00 às 19h00. A Jornada terá transmissão ao vivo no YouTube Channel do PPGI. Junte-se a nós!

Intersections of Irish Literature, Theatre and Technology
📅 12th November 2021
🕤 09:30-19:00 Brazil

💻 Live on PPGI UFSC YouTube Channel
09:30-12:00 (YouTube Channel – Part 1)
13:00-19:00 (YouTube Channel – Part 2)

*This event offers a certificate of attendance. Information about certificates will be given during the talk.

9:30 – Opening – Consul General of Ireland Eoin Bennis; Deputy Consul General Rachel Fitzpatrick; NEI/UFSC staff
10:00 – Lecture 1 – Claire Lynch (Brunel University London): “A typing… not typing. Long pause. A typing again…”: Consoling Technologies in Contemporary Irish Fiction

Chair: Maria Rita Drumond Viana (PPGI/PGET/UFSC)

11:00 – Panel 1: Irish Theatre and Technology
Alinne Fernandes: Creating Radio Drama in Times of Social Distancing: Irish-Brazilian Connections
Andrey Felipe Martins: Labouring and Dancing: Brian Friel’s Melancholic Carnival in Dancing at Lughnasa
Melina Pereira SaviPondering (Non)Humanity and Slow Violence in Stacey Gregg’s Override
Chair: Janaina Mirian Rosa (PPGI/UFSC)

12:00 – Lunch break
13:00 – Interview with Irish playwright and director Stacey Gregg
Chair: Alinne Fernandes (PPGI/PGET/UFSC)

14:00 – Panel 2Northern Ireland in Theatre and Film
Jéssica Soares Lopes: “Look out for the lads”: Masculinity and Violence in Stacey Gregg’s Shibboleth (2015)
Ketlyn Mara Rosa: Making Sense of a Divided Belfast: ’71 and a Sensorial Journey of Embodiment
Fabrício Leal Cogo: Avenida Beira-Mar: a Re-creation of David Ireland’s Cyprus Avenue Re-creation
Chair: Matias Corbett Garcez (DLLE/UFSC)

15:00 – Coffee break
15:10 – Lecture 2 – Barry Houlihan (NUI Galway): Sound and Vision: The Technology of Memory in Contemporary Irish Drama
Chair: Beatriz Kopschitz Bastos (PPGI/UFSC)

16:10 – Panel 3: Contemporary Irish Theatre
Vinicius Garcia ValimJack Duggan’s War: Documentary Theatre and Remembrance of the Great War
Jéssica Katerine Molgero Da Rós: “That’s what it’s like for Pavees like me”: Monologues and a New Traveller Subjectivity in Rings, by Rosaleen McDonagh
Larissa Martins Lannes: “How stupid can a father be?”: Writing Guilt and Regret through Stage Directions in Rings
Luana Helena Uessler: Everyday Racism and the New Intercultural Ireland in Bisi Adigun’s Not So Long Ago (2006)
Chair: George Ayres Mousinho (DLLE/UFSC)

17:25 – Coffee break
17:35 – Panel 4: Modern Irish Literature and Theatre
William Weber Wanderlinde: The Different Hells of Denis Johnston’s The Old Lady Says ‘No!’
João Pedro Garcia Diniz Spinelli: The Ideology of Social Ascension in “Jamie Freel and the Young Lady”, by W. B. Yeats
Alison Silveira Morais: Ilustrando Yeats: A tradução intersemiótica de contos selecionados da antologia Fairy Tales of the Irish Peasantry (1888)
Karolline dos Santos Rolim: Os vários retratos de Dorian Gray: quatro histórias do mesmo romance
Chair: Larissa Ceres Lagos (UFOP)

18:50-19:00 – Closing words
Organizers: Alinne Fernandes, Beatriz Kopschitz Bastos, Maria Rita Drumond Viana, Janaina Mirian Rosa


Guest speakers:
Claire Lynch is a Professor of English and Irish Literature at Brunel University London. She is the  author of two monographs, Irish Autobiography (2009) and Cyber Ireland: Text, Image,  Culture (2014). Claire’s personal essays have appeared on BBC Radio 4 and in the Washington  Post. Her latest book, Small: On Motherhoods, a work of creative non-fiction, was published in June  2021. 

Abstract: The lecture will draw on a series of contemporary Irish novels, charting the way everyday  “technological objects”—phones, laptops, computers— do more than simply sit alongside the  fictional characters who use them. 

When we see “Connell’s face illuminated by the lit display” of a phone in Sally Rooney’s Normal  People (2018), we see a moment of intimacy between the characters. When Sinéad Hynes is  shown “Googling [in bed]” in Elaine Feeney’s As You Were (2020), we learn so much about  the character’s desire for privacy, her realism, her sense of humour. As the boy in Eimear  McBride’s A Girl is a Half-Formed Thing (2013) hammers the controls of a computer game, or  Anne Enright’s Gina in The Forgotten Waltz manages her extra-marital affair on her  smartphone, we see them finding refuge, expression, and intimacy in the company of their  endlessly understanding machines. These are the machines that support their users, distract  them, comfort them. The console consoles. 

Stacey Gregg is a writer, director and performer for stage and screen from Belfast. Most recently  she wrote and directed HERE BEFORE which premiered at SXSW and won Best Film at Galway  Film Fleadh; she co-directed INSIDE BITCH for the Royal Court Theatre and Clean Break, and wrote  and performed HATCHET JINNY at Outburst Queer Arts Festival. She has written extensively for  television and her plays are published by Nick Hern Books and Bloomsbury. Her work has toured  internationally. 

Barry Houlihan is Theatre Archivist at National University of Ireland, Galway. He lectures in Irish  Theatre History and Digital Cultures. Barry’s monograph, Theatre and Archival Memory: Irish Drama  and Marginalised Histories 1951-1977 is recently published by Palgrave MacMillan. Barry has  recently co-edited Shaw and Legacy, a special issue of SHAW: The Journal of Bernard Shaw  Studies and has recently curated digital theatre exhibitions on the work of theatre designer Joe  Vanek and of the actress Genevieve Lyons. Other writings feature in Irish media such as on RTÉ  Brainstorm on topics of Irish theatre, culture, and heritage: https://www.rte.ie/author/921473-barry houlihan/ 

Abstract: The lecture will investigate the role and the means by which memory is (re)presented and  digitally reconstructed in contemporary Irish drama. Focusing on works by Dead Centre  Theatre Company, form the Irish Times Theatre Award-winning Lippy to Hamnet, and  from Chekhov’s First Play to Beckett’s Room, the company have created spaces of digital and  physical encounter with the canon and the archive of Irish drama, as well as with the  documented social record of contemporary Ireland. Within the plays are forms of memory,  digitally reconstructed and animated for audiences to witness – the dual presence and absence  of experience made ‘live’ once more on the stage through the technology of memory.


Alinne Balduino P. Fernandes is a tenured professor at the Federal University of Santa Catarina  (UFSC), Vice-Director of UFSC’s Postgraduate Programme in English (PPGI), and Coordinator of  both Irish Studies (NEI) and Feminist Studies in Literature and Translation research clusters. She  was a Moore Institute Visiting Fellow at NUI Galway in 2017. She is also a translator, dramaturge,  and theatre director. Fernandes has translated a number of plays by Irish and Northern Irish  playwrights including Marina Carr’s By the Bog of Cats… (published with Rafael Copetti, 2017, and  staged by Cia Ludens also in 2017), Mary Raftery’s No Escape (staged by Cia Ludens in 2015),  Lady Gregory and Yeats’s Cathleen ni Houlihan (with Maria Rita D. Viana, staged in 2016), Patricia  Burke-Brogan’s Eclipsed (staged in 2016-2017), and Christina Reid’s My Name, Shall I Tell You my  Name? (staged digitally in 2020). Some of her most recent publications are Artistic  Collaborations (special issue of Ilha do Desterro, 71.2, 2018, with Maria Rita Viana & Miriam  Haughton,); “Patricia Burke Brogan’s Eclipsed in Brazil: resonances and reflections” (book  chapter in Legacies of the Magdalen Laundries, Manchester University Press, 2021); A Virada  Cultural nos Estudos da Tradução (Ed. UFSC, forthcoming 2022). 

Abstract:  In this paper, I will present my ongoing research project titled “Making (Northern-)Irish Radio  Drama in Brazil: Reflections on Drama, Translation, and Technologies in Times of Social  Distancing”. The project aims to foster the dramaturgical study, translation, and production of  Irish and Northern-Irish plays as part of NEI’s soon-to-be-created sound digital archive. As the  COVID-19 pandemic, and thus social distancing, prolongs itself, this project seeks to explore  methods of artistic expression that are exclusively aural-based as well as suitable for times of  social distancing. In this paper, I will focus on the project’s first case study that involves the  translation, script writing, rehearsals, and production of Christina Reid’s My Name, Shall I Tell  You My Name? (1989). Set in the late 1980s, Reid’s play deals with social isolation due to  ageing and imprisonment in times of political and religious bigotry and war, which, in many  ways, may resonate with contemporary Brazilian issues. Ultimately, reflecting on the  technological developments of both the radio and the internet, with this project I aim to  revitalise an art form not much explored in Brazil, such as radio drama. 

Andrey Felipe Martins is a PhD candidate at PPGI/UFSC, under the supervision of Dr. Maria Rita  D. Viana, a member of NEI/UFSC, and currently a visiting researcher at the University of California,  Berkeley. His thesis focuses on the philosophical, aesthetic, and literary continuities between Milton  and W.B. Yeats, and analyzes their views of marriage and divorce with emphasis on the psycho sexual substructure of their poetry. His interests include Milton, on whom he has published, Irish  literature, Romanticism, and psychoanalysis.  

Abstract: Chronicling the outbursts of joy preceding the changes of fortune in the lives of five Donegal  sisters, Dancing at Lughnasa (1990) harks back to the 1930s to capture the effects of  industrialisation in the fabric of countryside life, where dynamics of work were being quickly  revolutionized by the foreign presence of technology. In the same summer in which the family  purchases their first radio, the narrator’s uncle returns from Africa, in a significant parallelism  that condenses a central paradox of the play: at the same time that modern technology draws  a wedge between man and traditional forms of life (“surpassed” modes of production), it is only  through the spell created by the radio – an object always on the verge of being fetishized in  the play as a “primitive” god – that a different temporality irrupts on the stage. Friel’s jubilant  Irish Bacchae are possessed by a rhythm that functions both as a liberating expenditure of  bodily energy and as a counterpoint to the mechanical movements put to a productive use in  the knitting factory. Informed by Kristeva’s theorization on the signifying process as work and  poetic text, I intend to analyse the intertwinement of work, art, and technology in Friel’s play.

Melina Pereira Savi is a CAPES Postdoctoral Research Fellow at PPGI/UFSC. She completed her  PhD in 2018, in which she analysed three novels by American author Ursula K Le Guin in light of the  current debates on the Anthropocene. In her current research, she uses the ecocritical approach to  analyse how specific English and Northern Irish plays tackle the impact of human actions on social  and natural landscapes. She has published articles on these subjects and has been teaching  courses on ecocriticism at the postgraduate level. 

Abstract: In the dystopian future depicted by Stacey Gregg in Override (2013), a pregnant young couple  that chooses to live off-the-grid in an increasingly technological world steadily explore the  question: what does it mean to be human? Violet, who has been “enhanced” by a type of  technology that was at first developed to “fix” disabilities (but was put to other uses in a hyper consumerist society), reveals to her techno-purist partner that she has undergone several  augmentation procedures. Mark, himself an administrator and heir to the company that created  these augmentations in the first place, overrides Violet’s settings, shutting off in her anything  that is not human. What happens next is the depiction of Violet’s transition from being human  to a decaying machine, and finally to her existence as virtual reality. Using Rob Nixon’s notion  of “slow violence” (2011), I plan to analyse the violence that underlies (1) the imposition of  technological products that are deemed essential, which then spurs their massive consumption  by the working classes as a means to buy their ways into social mobility and the (2) consequent  marginalization and dehumanization that takes place once these impositions are revised for  fear of allowing the masses to hold too much power in their hands. 

Jéssica Soares Lopes has a BA in English from UFSC and an MA from PPGI/UFSC, in the field of  Discourse and Translation Studies in Sociocultural Contexts. Her PhD in progress, in the field of  Literary and Cultural Studies, focuses on Irish theatre. She is interested in the areas of language  studies and foreign literatures, with a focus on representations of gender and sexuality as/in digital  media. She is Member of NuGaL (Núcleo de Estudos de Gênero Através da Linguagem/UFSC) and  NEI/UFSC. 

Abstract:  The recent shift in masculinity in Northern Ireland has taken place within a larger transformation  in a global context, in which the demands of feminist movements seemed to see the  emergence of a “hybrid variation of ‘Irish’ masculinity” (Edge 197), more suited to the transition  implied in – and to the maintenance of control of – the peace process. These changes,  however, reach and affect different clusters of Northern Irish society in different ways, as is  exemplified by the group of working-class males in Stacey Gregg’s Shibboleth (2015)The  present study carries out an analysis of a single character – Mo – and his relation to other  characters to shine light on the complex relationships between changes in masculinity and the  role of violence in the post-conflict Belfast of Shibboleth, and to illustrate how the play mobilizes  the relation between Mo and other characters in order to present such discussions. 

Ketlyn Mara Rosa is a Postdoctoral Research Fellow at the Department of Film Studies, Trinity  College Dublin, carrying out a research funded by the Irish Research Council on urban conflicts  cinema in Northern Ireland and Brazil. She holds a Master’s and Doctoral Degree in English:  Linguistic and Literary Studies from UFSC. Her research emphasis is on war cinema, having worked  with films that portray WW2, Afghanistan and Iraq Wars, and currently, late twentieth-century urban  warfare in Northern Ireland and Brazil, analyzing embodied violence and the possible meanings it  conveys in cinematic representations.  

Abstract: The issue of the Troubles in Northern Ireland has been massively present in films that  represent the contemporary political situation of the country, at times foregrounded as a central  point of the narrative or as a historical backdrop for action, thriller films and other genres. The relevance of the continuous conversation about the topic is raised by the appearance of  contemporary films that, although years apart from the Good Friday agreement, continue to  explore different facets and interpretations of the events. Films such as ’71, directed by Yann  Demange in 2014, help establish the flow of dialogue regarding the Troubles, the memories of  the past, and their consequences in society. This paper proposes to analyze how the film ’71 conveys images of violence to the body, both British and Irish, and illuminates potential  significances related to identity and memory, foregrounding the sensorial perception of the  characters as a major catalyst of experiences and meanings. By focusing on a chain of  characters whose lives are, in different proportions, touched by violence, the film attempts to  represent an urban and sectarian context that relies on unrestrained violent acts from all sides.  Such tumultuous environment is portrayed in a way that appeals to the senses, in a deep  engagement with the body and the immersive effects of violence. The representation of the  violated body and its sensorial spectrum adds to the notion of conflict cinema as an intimate  portrayal of trauma and urban warfare. 

Fabrício Leal Cogo is a PhD student at the Postgraduate Programme in Translation Studies at  UFSC (PGET). His research focuses on theatre translation and translation as re-creation. In his  Master’s he re-created the Northern Irish play Cyprus Avenue by David Ireland into Avenida Beira mar. He has been part of Núcleo de Estudos Irlandeses since 2017. 

Abstract: This communication will present the results of my master’s research in which a re-creating  translation of the play Cyprus Avenue by David Ireland to Brazilian Portuguese was proposed,  and it will also present the next step to be cared out in the doctorate process. The action of  the play Cyprus Avenue which takes place on Cyprus Avenue, Belfast was relocated to  contemporary Brazil. The sectarian violence found in a radical Unionist’s identity construction  is re-created in a Brazilian right-wing extremist who, like the source character, believes that an  enemy political leader has infiltrated his family disguised as his newborn granddaughter. This  suspicion drives this character into a psychotic episode in which he murders his entire family,  including the newborn. The methodology of the re-creation, as well as commented excerpts of  the final product, will be presented in the communication to reflect on the reasons of the  choices made in the process, and as an introductory discussion on staging the re-creation as  a next step to be performed in the doctorate process. 

Vinicius Garcia Valim is a second-year PhD candidate at PPGI/UFSC. During his MA studies at  the same program, he conducted research on British and Irish poetry of the Great War, with an  emphasis on national allegiances and loyalties present in such texts. He is currently researching the  five volumes of the Field Day Anthology of Irish Writing, seeking to analyse their editing and critical  interaction with the texts they reproduce, as well as how the anthology relates to the Irish literary  field. 

Abstract:  The decade of centenaries in Ireland, ranging from 2012 to 2023, has featured numerous  initiatives for remembering and re-evaluating a series of major events in Irish history in the  early twentieth century. The 2015 play Jack Duggan’s War, by Colin Murphy, a playwright who  has frequently worked within the documentary theatre genre, is one such piece that engages  with this wider cultural moment and inserts itself in a reappraisal of Irish involvement in the  Great War. The play draws on documentary material – the correspondence between an Irish  soldier in the war and his sweetheart, as well as a witness statement given to the Bureau of  Military History – to create a drama that explores not only Ireland’s participation in the war, but  the downplaying of its memory through much of the twentieth century in favour of the Easter  Rising as a foundational myth. This presentation, thus, will explore the ways in which the play  dramatises opposing 20th century attitudes in the Republic of Ireland toward the Great War and  the Easter Rising, especially regarding the different status given to both conflicts.

Jéssica Katerine Molgero Da Rós is a PhD student at PPGI/UFSC currently researching  speculative literature. She holds a Master’s degree in Linguistic and Literary Studies, with a focus  on film studies and posthumanism, and a BA in English and Corresponding Literature, both from  UFSC. She has experience in English literature and film studies, with research interests in the areas  of speculative fiction, science fiction, and posthumanism. 

Abstract: Rosaleen McDonagh’s Rings (2012) stands as a relevant example of contemporary  monologue in Irish theatre. McDonagh uses monologues to explore the characters’ conflicts  regarding Traveller culture and disability. Thus, this work is concerned with the role of the  monologue form in the construction of a new Traveller subjectivity. Through the analysis of  specific lines containing descriptions of the Traveller tradition by the two characters, I explore  how the monologues in Rings suggest the characters’ changes of perspective regarding their  own lives and their own culture. Norah’s new Traveller subjectivity is constructed as she  assumes and adopts the Pavee Princess label as a boxer. The father needs to overcome a  masculinity crisis in order to be able to support his daughter’s choices, which challenge the  Traveller traditions. Besides that, the relevance of the stage directions is also discussed as  responsible for implying movements that add meaning to the content delivered by their  monologues. With the development of the characters’ reconstruction of their Traveller  subjectivity, it is possible to better explore the play’s importance within contemporary Irish  monologues and within the performances concerned with cultural diversity and disability. 

Larissa Martins Lannes is a Master’s student at PPGI/UFSC, carrying out research on creative  writing in relation to the social isolation brought by the COVID-19 pandemic. Her BA in English:  Linguistic and Literary Studies focused on women’s studies and female representation in the media.  Her current research focus is grounded on Theatre Studies and employs a practice-based approach  towards playwriting as a means to investigate the creative process from a hermeneutic and  psychoanalytic perspective. She hopes to advance an applicable methodology for creative studies  and help establish Creative Writing as an academic area of research for Brazilian students. 

Abstract:  Rosaleen McDonagh’s play Rings (2012) employs a simple structure for a rich narrative, with  a deeply emotional charge and profound meanings hidden in plain sight. The play presents  only two characters — Norah and her father —, who do not interact verbally, but do so on a  physical level. A challenge to the traditional Irish Traveller community due to her deafness and  disregard for gender rules, Norah’s relationship with her father is strained. Through their  monologues, we learn of the father’s pride and Norah’s struggle to have command over her  own life despite her hardships. However, an entirely different story is implied through the stage  directions by means of actions performed on stage. Gestures, in this sense, refer not only to  physical movement but actions that hold particular meaning and bring significance to the  interaction between the characters. Although not voiced or directly acknowledged, these  gestures are seen by the audience in the event of a performance, or by the reader in the  process of reading the play. This essay analyzes the dichotomic relationship between stage  directions and dialogue, and the possibility of creating two distinct storylines by conveying  meaning both through spoken words and physical communication in theatre. 

Luana Helena Uessler is a PhD candidate at PPGI/UFSC. In her MA studies, Luana conducted  research on Critical Discourse Analysis, investigating narratives produced by Black Brazilian women  and African American women. Luana’s main areas of interest are on the intersections of race,  gender, and aesthetics.  

Abstract: Arambe Productions was the first African theatre company in Ireland, founded in 2003 in the  Celtic Tiger context. The company, founded by Bisi Adigun, opened space for contemporary  discussions towards place, race, and racism in Ireland, dramatizing the history of Africa and Africans on the Irish stage, but also tackled the issues of a new, intercultural Ireland. These  issues are highly presented in the two-act play Once Upon a Time & Not So Long Ago (2006)  – which was first only Once Upon a Time, a project that led the African oral, musical, and  theatrical tradition to the Irish stage. The second act of the play, Not so Long Ago, was partly  funded by the National Action Plan Against Racism and was indexed to Once Upon a Time in  2006 and aimed at highlighting cultural differences and similarities of African immigrants and  Irish people. In this paper, I discuss how the second act of the play, through the dramatization  of real-life experiences of African immigrants living in Ireland, depicts everyday racism in early  2000s Ireland. 

William Weber Wanderlinde is a second-year PhD candidate at PPGI/UFSC. In his Master’s thesis, he explored the converges between different concepts of Romantic irony and the works of William  Blake, more specifically the book Songs of Innocence and of Experience. He is currently researching  different editions of Blake’s works, seeking to understand how editorial decisions were shaped or  not by current editorial practices, as well as how these editorial decisions have impacted and still  impact on Blake’s reception. 

Abstract: In my presentation, I will analyze the play The Old Lady Says ‘No!’ (1929) by Denis Johnston,  as I did for the final paper of professor Beatriz’s course. In this odd mix of Expressionism,  satire, and social critique, Johnston brings references to several different works of literature,  in a style which has been compared to that of Modernist writers such as T. S. Eliot. One of the  recurring references found in the play is to Dante’s Divine Comedy, especially his Inferno.  Indeed, Hell appears in the speeches of several characters. My argument is that Hell, mainly  the Dantean Hell, is used by Johnston throughout the play as a means to critique the social  environment of the Republic of Ireland of his time. In this sense, Hell is mostly used as a  metaphor for the harsh reality of Ireland in the period. However, at the end of the play there is  a shift of perspective: the Dantean Hell gives space to the Hell of William Blake, something  that helps us understand the ending of the play, as well as gives us a hint of the kind of solution  Johnston envisaged for Ireland. 

João Pedro G. D. Spinelli is a translator and Master’s student at PGET/UFSC. He has been a  creative writer in Portuguese since age 6 and in English since age 9. He is also a songwriter, singer,  musician, actor, and music producer. He has been involved in theater groups, performance troupes,  rock bands, cultural projects, and original films. He is a published poet and award-winning  soundtrack composer, with a focus on audio production. Since 2020, he has been channeling his  creative energy exclusively into his academic studies both in the theory and the practice of  translation. 

Abstract: It has been proposed by Eric Hobsbawm and Terence Ranger in the book The Invention of  Tradition (1983) that what is taken as tradition may have been discursively fabricated and  divulged with the interest of promoting nationalist political agendas. For David Hopkin, in  relation to European folklorists of the nineteenth century, there are questions as to whether  this is the case, or whether their influence upon ideology and politics happened in a more  indirect way. Though primarily an accomplished poet and playwright, one of these folklorists  was Irish writer William Butler Yeats, who published two books of folktales, Fairy and Folktales  of The Irish Peasantry (1888) and Irish Fairy Tales (1892). Foregrounding this discussion, I  intend to make a reading of W. B. Yeats’s fairy tale “Jamie Freel and The Young Lady”,  analyzing specifically how the possibility (or “promise”) of social ascension as it is portrayed  within the short story relates to newly expanding industrial capitalist ideologies in late nineteenth century Ireland.

Alison Silveira Morais is a writer and illustrator. He has a Master’s degree from PGET/UFSC, where he also got his BA in Letras Inglês. Alison has been publishing horror and terror short stories in a  variety of anthologies since 2016. He has recently organized and participated as an illustrator in the  books “O gato e El Diablo” (2019) and “Ojepotá e outros três tristes contos tétricos” (2019), in a  partnership between UFSC and Katarina Kartonera. 

Abstract: William Butler Yeats (1865-1939) foi um poeta irlandês, dramaturgo, romancistas e um dos  autores fundadores do Irish Literary Revival (Renascimento  Literário Irlandês) e co-fundador do Abbey Theatre em Dublin. Yeats possui uma trajetória  excepcional e trabalhos muito importantes como folclorista e por sua vasta produção de contos  de fadas, “resgatando” partes valiosas da cultura irlandesa. O objetivo dessa apresentação  será mostrar algumas ilustrações criadas para compor a tradução do livro “Fairy and Folk  Tales of the Irish Peasantry” (traduzido como “Contos de fadas da Irlanda”), organizado pela  Profa. Dra. Dirce Waltrick do Amarante, seleção de contos e tradução por João Pedro G.D. Spinelli, ilustrado por Alison Silveira Morais, e que vem sendo revisado pela Profa. Dra. Maria  Rita Drumond Viana. Cada uma das ilustrações foi criada como uma forma de tradução  intersemiótica. A ideia é apresentar algumas dessas obras e explicar as escolhas tradutórias,  e tentar responder como as ilustrações dialogam com os contos em termos de conteúdo,  estrutura e contexto. Também apresentar parte de um estudo histórico em relação as artes  criadas para essa obra no passado, como as de John D. Batten (1892), James Torrance  (1907) and P.J Lynch (2019). Por fim, pretendo também contextualizar teoricamente e  localizar o campo da tradução intersemiótica (Jakobson, 1959; Holmes, 1988) e, também o  caráter técnico de cada obra. 

Karolline dos Santos Rolim is a Doctoral student at PGET/UFSC. She has a Masters’ degree also  from PGET/UFSC (CAPES scholarship) and a BA in Languages – Portuguese, English and  respective Literatures from Faculdade Santa Rita (2011) and in Translation from Universidade  Federal de Ouro Preto (2018), with an exchange programme at the Università degli Studi di Napoli  L’Orientale (2017/2018). She participates in the Irish Study and Translation and Comparative  Literature Groups, promoted by UFSC. She has a scholarship from the Institutional Nucleus for  Languages and Translation of the Department of International Relations at UFSC and works mainly  with Portuguese, English and Italian. 

Abstract: A pesquisa sobre O retrato de Dorian Gray do autor irlandês Oscar Wilde desenvolvida no  mestrado constatou que o romance passou por três importantes momentos de revisão que  fizeram parte da história de Wilde e que nos últimos anos vem ganhando destaque. Sabe-se  que o livro contém vinte capítulos e que foi o que se popularizou na literatura durantes todos  esses anos, porém as outras versões passaram a ganhar a atenção tanto do público nacional  (brasileiro, ou seja, com as traduções que foram realizadas) quanto internacional. Em 2011 a  Belknap Press de Harvard publicou, com a organização de Nicholas Frankel, a versão em  datiloscrito do romance, este sendo traduzido por Jório Dauster para o português em 2013.  Quanto às traduções, em 2012 foi publicada pela primeira vez a tradução do texto presente  nas páginas da Lippincott’s Monthly Magazine. Este trabalho tem como objetivo apresentar a  cronologia das revisões pelas quais o romance passou e suas traduções para o português  brasileiro.